Be true to what you want to say, or whatever style it is that you've chosen or genre you've chosen. Do it well! My criteria always has been that the piece must stand the chance of succeeding on the level it's intended to succeed on.

By the very nature of being a clergyman's son, people tend to put you slightly apart, which is - you tend to live a life, at some stages, as being - people being suspicious of you and puts you rather on a - I don't mean lonely, particularly. But it does tend to put you apart.

The only concession you can make is to what you believe is right.

If you do an interview in 1960, something it's bound to change by the year 2000. And if it doesn't, then there's something drastically wrong.

I thought ['Sailcloth'] was a terrific script. Elfar Adalsteins, the director, is bound to be a director we'll hear from, and the whole thing was really enjoyable.

If I'm in theatre, cinema doesn't even cross my mind. Similarly when I'm making a film, theatre doesn't cross my mind.

I've never done a [Berthold] Brecht. In the 1960s when the Berliner Ensemble came over [to England] with Helene Weigel [Brecht's second wife], I saw all the Berlin actors. It was an amazing time, very exciting early 1960s.